While these buildings might stand as ghosts of the past today, their stories live on within these pages. The team behind BuildingsofDetroit.com brings you the memories of those who caught trains out of the majestic Michigan Central Station, necked with girlfriends in the balcony of the palatial Michigan Theatre, danced the night away at the Vanity Ballroom and kicked out the jams at the Grande Ballroom. As Detroit Free Press Architecture Critic John Gallagher said, the buildings in these pages held a central place in the story of Detroit's Auto Century. It was America's story, too. Detroiters lived, loved, toiled, played, celebrated and dreamed great dreams in these buildings and thereby helped shape a nation."

    A timeless tale of exile and longing, death and desire, love and belonging. (his)

    Out of the heart of China into the mountains of Central Asia, across northern Afghanistan and the plains of Iran and into Kurdish Turkey, Colin Thubron covers some seven thousand miles in eight months. Making his way by local bus, truck, car, donkey cart and camel, he travels from the tomb of the Yellow Emperor, the mythic progenitor of the Chinese people, to the ancient port of Antioch—in perhaps the most difficult and ambitious journey he has undertaken in forty years of travel.The Silk Road is a huge network of arteries splitting and converging across the breadth of Asia. To travel it is to trace the passage not only of trade and armies but also of ideas, religions and inventions. But alongside this rich and astonishing past, Shadow of the Silk Road is also about Asia today: a continent of upheaval.One of the trademarks of Colin Thubron's travel writing is the beauty of his prose; another is his gift for talking to people and getting them to talk to him. Shadow of the Silk Road encounters Islamic countries in many forms. It is about changes in China, transformed since the Cultural Revolution. It is about false nationalisms and the world's discontented margins, where the true boundaries are not political borders but the frontiers of tribe, ethnicity, language and religion. It is a magnificent and important account of an ancient world in modern ferment.

    It left the business of rock stardom to rock stars. But by 1992 alternative rock had spawned a revolution in music and style that transformed youth culture and revived a moribund music industry. Five years later, alternative rock was over, leaving behind a handful of dead heroes, a few dozen masterpieces, and a lot more questions than answers. What, if anything, had the alternative revolution meant? And had it been possible - as so many of its heroes had insisted - for it to be both on MtV and under the radar? Had it used the machinery of corporate rock to destroy corporate rock? In ENtERtAIN US! Craig Schuftan takes you on a journey through the nineties - from Sonic Youth's 'Kool thing' to Radiohead's 'Kid A', NEVERMIND to ODELAY, Madchester to Nu-Metal, Lollapalooza to Woodstock '99 - narrated in the voices of the decade's most important artists. this is the story of alternative rock - the people who made it, the people who loved it, the industry that bought and sold it, and the culture that grew up in its wake - in the last decade of the twentieth century.

    She entered Ah-gwah-ching State Sanatorium at Walker, Minnesota, for what she thought would be a short stay. In January, her tuberculosis spread, and she nearly died. Her recovery required many months of bed rest and medical care.Marilyn loved to write, and the story of her three-year residency at the sanatorium is preserved in hundreds of letters that she mailed back home to her parents, who could visit her only occasionally and whom she missed terribly. The letters functioned as a diary in which Marilyn articulately and candidly recorded her reactions to roommates, medical treatments, Native American nurses, and boredom. She also offers readers the singular perspective of a bed-bound teenager, gossiping about boys, requesting pretty new pajamas, and enjoying Friday evening popcorn parties with other patients.Selections from this cache of letters are woven into an informative narrative that explores the practices and culture of a midcentury tuberculosis sanatorium and fills in long-forgotten details gleaned from recent conversations with Marilyn, who "graduated" from the sanatorium and went on to lead a full, productive life.

    Here, she explores the opposite impulse, one that has been so effectively suppressed that we lack even a term for it: the desire for collective joy, historically expressed in ecstatic revels of feasting, costuming, and dancing.Ehrenreich uncovers the origins of communal celebration in human biology and culture. Although sixteenth-century Europeans viewed mass festivities as foreign and "savage," Ehrenreich shows that they were indigenous to the West, from the ancient Greeks' worship of Dionysus to the medieval practice of Christianity as a "danced religion." Ultimately, church officials drove the festivities into the streets, the prelude to widespread reformation: Protestants criminalized carnival, Wahhabist Muslims battled ecstatic Sufism, European colonizers wiped out native dance rites. The elites' fear that such gatherings would undermine social hierarchies was justified: the festive tradition inspired French revolutionary crowds and uprisings from the Caribbean to the American plains. Yet outbreaks of group revelry persist, as Ehrenreich shows, pointing to the 1960s rock-and-roll rebellion and the more recent "carnivalization" of sports. Original, exhilarating, and deeply optimistic, "Dancing in the Streets" concludes that we are innately social beings, impelled to share our joy and therefore able to envision, even create, a more peaceable future.

    Make them listen to it two more times. Get them to explain why they never bothered with it before. Then ask them to review it.What began as a simple whim quickly grew in popularity, and now Ruth and Martin’s Album Club has featured some remarkable guests: Ian Rankin on Madonna’s Madonna. Chris Addison on Marvin Gaye’s What’s Going On. Brian Koppelman on The Smiths’ Meat is Murder. JK Rowling on the Violent Femmes’ Violent Femmes. Bonnie Greer on The Beach Boys’ Pet Sounds. Martin Carr on Paul McCartney’s Ram. Brian Bilston on Neil Young’s Harvest. Anita Rani on The Strokes’ Is This It. Richard Osman on Roxy Music’s For Your Pleasure. And many, many more.Each entry features an introduction to each album by blog creator Martin Fitzgerald. What follows are delightful, humorous and insightful contributions from each guest as they have an album forced upon them and – for better or worse – they discover some of the world’s favourite music.Ruth and Martin’s Album Club is a compilation of some of the blog’s greatest hits as well as some exclusive material that has never appeared anywhere before. Throughout, we get an insight into why some people opt out of some music, and what happens when you force them to opt in.

    French of Family Affair) "singing" songs by Bob Dylan, and tons more

    But he needed to create a new sound, a music that had nothing to do with anyone except himself. The path he chose was difficult and risky. Nevertheless, he persisted. His work now stands with the greatest music of all time, and continues to inspire devotion, adoration, and joy nearly 50 years after his death.           Coltrane was also one of the few musicians whose life, thoughts, and words are as inspiring as his music. This book collects, for the first time, those words.            Coltrane was a gracious interviewee. His responses were thoughtful and measured; he rarely said anything negative about others (though he could be highly self-critical). Interviewers noted how different Coltrane seemed from his music--this quiet man whose music was so volcanic.            Coltrane on Coltrane includes every known Coltrane interview, many in new transcriptions, and several previously unpublished; articles, reminiscences, and liner notes that rely on interviews; and some of Coltrane’s personal writings and correspondence.            John Coltrane never wrote an autobiography. This book is as close to one as possible.

    He broke hearts and he broke rules. He tinkered as furiously with his car as he did with his instrument, which he transformed technically to create the new sitar standard. And always there was the music, at the centre of his being, protected and unharmed—music that contained the sound of ‘fairies dancing, elephants walking’. Vilayat Khan saw music. He was the man who made the sitar sing. .Namita Devidayal, author of the acclaimed bestseller, The Music Room, recreates the extraordinary life of an artiste who fundamentally and forever changed Indian instrumental music. She follows his footsteps from Calcutta, through Delhi, Bombay, Shimla and Dehradun, to Princeton, USA, where he spent his last years. Filled with previously untold stories about the man and the musician, this is an intimate portrait of an uncommon genius. .It is also an absolute feat of research—and storytelling. .‘Vilayat Khan and Ravi Shankar promised each other they would never perform together after this. Kishan Maharaj later told someone, ‘If these two eyes of India play together again, one will shut for ever.’ i

    The Drive-By Truckers, as they named themselves, grew into one of the best and most consequential rock bands of the twenty-first century, a great live act whose songs deliver the truth and nuance rarely bestowed on Southerners, so often reduced to stereotypes.Where the Devil Don’t Stay tells the band’s unlikely story not chronologically but geographically. Seeing the Truckers’ albums as roadmaps through a landscape that is half-real, half-imagined, their fellow Southerner Stephen Deusner travels to the places the band’s members have lived in and written about. Tracking the band from Muscle Shoals, Alabama, to Richmond, Virginia, to the author’s hometown in McNairy County, Tennessee, Deusner explores the Truckers’ complex relationship to the South and the issues of class, race, history, and religion that run through their music. Drawing on new interviews with past and present band members, including Jason Isbell, Where the Devil Don’t Stay is more than the story of a great American band; it’s a reflection on the power of music and how it can frame and shape a larger culture.

    The result is a frame-by-frame examination of the inimitable style that infuses every Kubrick movie, from the pitch-perfect hilarity of Lolita to the icy supremacy of 2001: A Space Odyssey to the baroque horror of The Shining. The book's beautiful design and dynamic arrangement of photographic stills offer a frame-by-frame understanding of how Kubrick constructed a film. What emerges is a deeply human study of one remarkable artist's nature and obsessions, and how these changed and shifted in his four decades as a filmmaker.

    This is Cherry Denman's witty take on her life trailing husband Charlie round some of the most godforsaken outposts of the world. Illustrated by brilliantly funny cartoons of diplomatic life, this is a collection of clever and very funny tales of global misunderstanding.

    Crisscrossing the towns and hamlets where the blues began, Lomax gave voice to such greats as Leadbelly, Fred MacDowell, Muddy Waters, and many others, all of whom made their debut recordings with him.The Land Where the Blues Began is Lomax’s “stingingly well-written cornbread-and-moonshine odyssey” (Kirkus Reviews) through America’s musical heartland. Through candid conversations with bluesmen and vivid, firsthand accounts of the landscape where their music was born, Lomax’s “discerning reconstructions . . . give life to a domain most of us can never know . . . one that summons us with an oddly familiar sensation of reverence and dread” (The New York Times Book Review). The Land Where the Blues Began captures the irrepressible energy of soul of people who changed American musical history.Winner of the 1993 National Critics Circle Award for nonfiction, The Land Where the Blues Began is now available in a handsome new paperback edition.

    He was an authority on rock & roll, blues, jazz, punk, avant-garde, and world music -- often discovering new artists and trends years (even decades) before they hit the mainstream. Now, noted music writer Anthony DeCurtis has compiled the best pieces from Palmer's oeuvre and presents them here, in one compelling volume.A member of the elite group of the defining rock critics who emerged in the 1960s and 1970s, Palmer possessed a vision so complete that, as DeCurtis writes, "it's almost as if, if you read Bob, you didn't need to read anyone else." Blues & Chaos features some of his most memorable pieces, including gripping stories about John Lennon, Led Zeppelin, Moroccan trance music, Miles Davis, Jerry Lee Lewis, Philip Glass, and Muddy Waters.Wonderfully entertaining, infused with passion, and deeply inspiring, Blues & Chaos is a must for music fans everywhere.Flirtations with chaos / by Anthony DeCurtis --The big picture : "The opinions expressed are dangerously subjective." --The blues : "A post-Heisenberg-uncertainty-principle mojo hand" --Jazz : "A kinetic kaleidoscope" --The originators : "Where the hell did this man come from?" --Soul and R&B : "It had to come from somewhere, and the church is where it all came from" --Classic rock : "Musically, we weren't afraid to go in any direction whatsoever" --John Lennon and Yoko Ono : "Now the music's coming through me again" --Punk rock and beyond : "Fear and nothing" --World music : "The world is changing and so is our music" --Morocco : "We fell through each other, weightless, into the sky" --On the edge : "Listen, as if a new world had suddenly opened up" --Sonic guitar maelstrom : "All hail the overdriven amp."